Crypt of Shadows #1: A Good Ol’ Monster Mash

Anthology books, especially for big two publishers, are great thanks to their ability to showcase various styles and sensibilities under a similar banner. It’s also a shame that the publishers all but left the anthologies to languish outside of various one-shots, or Batman-adjacent titles. Fans need to look no further than this week’s Crypt of Shadows to see the value of an anthology series, as fan-favorite characters get to shine without the pressure of selling an ongoing title. 

The anthology also scratches a similar itch that Marvel’s recent Special Presentation, Werewolf by Night did, by telling a tight, self-contained story (or in this issue’s case, stories) that leaves the audience wanting more. The implication and laying of track for future adventures is a great hook for these stories and helps to generate excitement for the side of Marvel comics that has been lacking in recent years. 

The Crypt of Shadows – Writer: Al Ewing, Artist: Ramon Bachs, Colorist: Rain Beredo, Letterer: VC’s Travis Lanham

The book’s frame and narrator being in the form of Victor Strange – the vampiric brother of currently deceased(ish) Dr. Strange – is an excellent narrative choice by Al Ewing, utilizing the cult character to guide readers through the mystical and monstrous sides of the Marvel universe. The story is a great showcase for Ewing to give the seemingly separate tales a narrative throughline linking the stories by certain aspects and themes while giving the writer a chance to play on the concrete, rather than the typical massive scale his works are known for. Paired with Bach’s harsh, thick linework and the muted palette of Beredo, the pages are pitch-perfect connective tissue for these tales of terror. 

This gives the impression of a tighter style that resembles modern Chris Bachalo pencils, with the art here working with the coloring to confine it closer to reality. Bach also utilizes a frame within the page to signify the difference between this portion and the rest of the book. That frame gives an ornate feeling to the words that Victor offers and evokes the sense that this is contained in its setting, observing the story from the outside. The choice lends itself to the single location of the titular crypt and channels the aesthetics of a Sanctum while offering something new to audiences. That frame and background changes with also change each time the audience checks in, signaling how the arc of the anthology leans further and further into a chaotic sense of creativity. 

Rating

Writing: 8/10 

Art: 8/10 

Colors: 8/10

Neither Big nor Bad – Writer: Danny Lore, Artist: Karen S. Darboe Colorist: Chris Peter Letterer: VC’s Travis Lanham

The opening story is a fun subversion of expectations that comes from a character like Brielle, aka the daughter of Blade. Instead of dealing with vampire enemies, Lore presents an interesting tale of ghosts and second-rate occultists, giving the book an interesting twist. Lore’s script keeps the pace moving, which ensures the ending has the time to unpack the story behind the ghost, which signals who the true monster of the tale is (it’s the second-rate occultists).  

Darboe’s art is a strong opening for the standalone stories, offering the least action of the anthology, but making up for it with magic and its effects. Once the possessed occultist fully forms, the art takes off, with Darboe’s rendering of the being the standout of the story. Working with Peter’s colors to showcase the scale and power of the being, the two mix shadows and flames to create an original visual style for the threat. The oranges and blacks blend on the page to create a haunting look at how a ghost can materialize in the world. The harshness of the linework and the pulsing colors both soften once the ghost can take its true form, giving way to a spirit with longing and patience. It’s an excellent shift that speaks to the creative thesis of subverting expectations with this story. 

Rating

Writing: 8/10 

Art: 8/10 

Colors: 8/10

Werewolf by Moon Knight – Writer: Rebecca Roanhorse, Artist: Geoff Shaw, Colorist: Arif Prianto, Letterer: VC’s Travis Lanham

The story for Werewolf by Night feels like the most relevant to the larger Marvel Universe, linking to the upcoming Moon Knight Annual. The plot that Roanhorse establishes is simple, in that a werewolf is hoping to recruit Jake Gomez to his cause, but the plan goes awry as his second-in-command attacks. The two get into a short werewolf skirmish before Moon Knight makes a sudden appearance and fights. It’s an excellent call to both the current Moon Knight status quo, as a protector of travelers, along with his history of fighting werewolves as well. Roanhorse seeds an excellent mystery of who these werewolves are, and carve a fun looming threat for Moon Knight, who’s already dealing with vampires organizing. 

Shaw’s art is top-notch, rendering stunning and distinct werewolves for both Gomez and the unnamed enemy. The two also are a great contrast for Moon Knight, working as big bruisers compared to the smaller and more compact vigilante. There’s nothing better than seeing Moon Knight getting to take the shape of the moon in the distance, and Shaw’s interpretation doesn’t miss. This paired with Prianto’s colors, which evoke the palette of Rachelle Rosenberg’s for the current Moon Knight book, gives the story, a slick, fast pace flow. The white and blacks of Moon Knight’s costumes radiate on the page, contrasting against the coats of the werewolves, which seem to soak in the blacks and browns of their furs. 

Rating

Writing: 8/10 

Art: 8/10 

Colors: 8/10

Skin Crawl – Writer: Chris Cooper, Artist: Ibrahim Moustafa, Colorist: Neeraj Menon, Letterer: VC’s Travis Lanham

Morbius’s story is one that’s deeply rooted in the Living Vampires continuity, picking up on plot points from the classic Midnight Suns story Darkhold: Pages from the Book of Sins. The story is a perfect match for the character, telling a classic horror tale with metaphors of man becoming a monster contextualized through magic on the page. Cooper gives Morbius Byronic hero traits, the scientist-turned-vampire grappling with the death and destruction he deals with because of the magical parasites (Troids) that have sprung from him. Without the context of those previous series, this issue does leave some questions that need more than an annotation and relinquishes some of the emotional impact that the story leans on, but not enough to ruin the experience. That history of Morbius is what Cooper gets digs deeper into, and allows the writer to showcase the mind of a walking contradiction. 

Moustafa’s art is a perfect fit for that paradoxical nature, rendering the horror of the troids as the magical visages spring from the vampire’s skin. The linework showcases the pain and tense preparedness Morbius has, ready to strike at Montesi and the criminal at any point. As he falls further under the thrall of the Troid, Moustafa’s pencils get harsher, and the expression he gives Mobius leans further into the monstrous. That paired with the sickly greens of the Troids splotching onto the vampire’s skin is a great way to show a physical manifestation of the underlying emotions at the core of this issue. Menon’s palette also works to show the double edge of magic, as Jinx’s magic takes on a similar hue.  

Rating

Writing: 7/10 

Art: 8/10 

Colors: 8/10

Down Came the Rain – Writer: Chris Condon, Artist: Fran Galán, Colorist: James Campbell, Letterer: VC’s Travis Lanham 

The penultimate story in the anthology is one of the best ones, thanks in part to Condon’s amazing use of the Elsa Bloodstone character. The script balances her brooding contempt for the world with the cutting snark that masks a heart of gold. Pairing that with an intimate, horror twist on the Spider-Island concept makes for an excellent character study by exploiting one of Marvel’s most famous characters. Condon keeps the momentum going in this monster hunt through a combination of Elsa’s snark and the blinding himbo energy of Johnny Storm. It’s a pairing that shouldn’t work on paper but in this execution does a wonderful job of evening the character’s worldviews and motivations. Condon also makes an excellent choice by subverting the heroes having to have a little fight firsthand, using the compressed space of the story to immediately set the duo on their hunt. 

Galán’s pencils are mostly great in this story, the Man-Spider never looks better. The action is clear and kinetic, moving with a fluidity that sells the dexterity of both Man-Spider and Elsa. The only place the art falters is in a few close-up facial expressions, but they’re never distracting enough to ruin the flow of the story. The way Galán blacks a figure slicked by the rain gives the story a twinge of a noir tale, working with Condon’s script to give a deeper interiority to the story that makes it shine. Campbell’s colors are the knockout element of this issue, giving beautiful splashes of color even as Elsa and the Human Torch are forced to wander the sewers. The blues from the rain pair well with the reds and oranges of Elsa’s hair, Johnny’s fire, and the spider costume creating a striking image on every page. 

Rating

Writing: 10/10 

Art: 9/10 

Colors: 10/10

Endless Slaughter in the Infinite Swamp – Writer and Artist: Adam Warren, Colorist: Guru-eFX, Letterer: VC’s Travis Lanham

The most surprising pairing in this anthology with plenty of surprising pairings is Wolverine (Laura Kinney/X-23) and Man-Thing in the final tale. If the previous story is the perfect example of skipping the superhero meet-up/misunderstanding, then this story is the polar opposite. Warren takes readers through a time-bending, reality-spanning fight as the mutant and creature get trapped in an endless loop of violence, pheromones, and negative emotions. Warren’s story channels the power of two misunderstood beings controlled by their primal emotions and uses the framework of a continuous battle to showcase how the character will never really be free from their corrupted origins. 

The art is gorgeous from start to finish, with Wolverine getting multiple designs as time passes in the conflicts, while his Man-Thing is the perfect proportion of terror and adorable. Warren’s compositions and layouts are also stunning across every page, incorporating gutters from the edges of the swamp, as it warps Wolverine and Man-Thing across existence. Speaking of the swamp, Guru-eFX’s colors bring the environment to life, the green and blues capturing the atmosphere with deftness. The linework that joins the panels with the art inside is stunning, and in both moments where the duo lives and where they fight, there’s a subtle inking decision that gives a ragged, worn look to both figures. 

Rating

Writing: 10/10 

Art: 10/10 

Colors: 10/10